Have you ever heard someone utter something that seems totally inappropriate or ludicrous, only to find out that the statement in question is one the speaker’s most cherished beliefs? Hard to fathom, isn’t it? Yet such instances are commonplace, since beliefs are highly personal, heartfelt sentiments, notions that everyone holds onto zealously (and that are generally unshakable except under the most coercive circumstances). That seemingly strange though routine proposition gets put under the microscope in the latest offering from director Woody Allen, “Irrational Man.”

The ivy-clad halls of Newport, Rhode Island’s stoic Braylin College are about to get shaken up (or at least that’s what administrators think). Renowned philosophy professor Abe Lucas (Joaquin Phoenix) has agreed to join the school’s faculty as a visiting instructor for the summer program. His arrival is heralded as a major coup for the university, given his pedigree as one of the field’s most insightful academics. But his standing precedes him in other ways, too; the handsome young scholar has earned quite a reputation as a ladies’ man.

But, when Abe arrives, many of the foregoing expectations are shattered. He routinely seems moody, withdrawn and despondent, merely going through the motions of his new assignment and frequently reaching for the flask he carries in his back pocket. Moreover, in conversations with peers, it becomes obvious his field of study no longer holds much interest for him. In fact, despite his extensive knowledge of the subject matter, he has generally come to view his

Needless to say, Braylin’s faculty is disappointed with the attitude of their new colleague. The same can be said of those who carry an erotic torch for him, most notably married but philandering science instructor Rita Richards (Parker Posey) and doe-eyed undergraduate student Jill Pollard (Emma Stone). Abe’s inability to “perform” frustrates them. But, then, such feelings of inadequacy don’t do much to lift his own spirits, either, especially since they permeate all areas of his life, from his amorous escapades to his ability to write to his classroom experience.

However, Abe’s circumstances take an unexpected turn when he overhears a troubling conversation in a diner. In the course of his eavesdropping, he learns of a disturbing injustice that he believes must be rectified. And, in a moment of supposed clarity, he feels compelled to take matters into his own hands, despite not personally knowing any of the parties involved. By taking action, Abe sincerely believes his life will have purpose once again. He thus proceeds to work on a plan to address the situation, one that’s a real killer – literally.

Upon making this decision, Abe’s life changes in an instant. He suddenly seems more upbeat and empowered, taking charge of his existence. Others benefit from this renewed spark, too, most notably Rita and Jill. But, before long, cracks begin to appear in Abe’s plan. His scheme proves to be anything but the panacea he initially thought it to be. His onetime clarity starts to turn murky, especially when consequences begin to boomerang on him. Abe quickly finds himself in over his head – and sinking deeper with every passing moment. Given what’s transpiring around

As anyone who has ever studied philosophy knows, there are many different ways of looking at the world. Questions involving metaphysics, morality, ethics and a host of other considerations all come up for scrutiny and take a variety of forms, depending on the lens through which they’re observed. The particular views that we most enthusiastically adopt invariably form the basis of our beliefs. And, as practitioners of conscious creation know, those beliefs, in turn, come to characterize our prevailing worldview and the nature of the reality we experience.

In light of the foregoing, it’s important that we consider those views carefully, for they’ll certainly become reflected in the existence around us. No matter what form our beliefs may take, they’ll inevitably be faithfully represented in our external world, warts and all. And so, to attain outcomes we’re pleased with, we should be sure to take several important steps, such as make use of our power of discernment, understand the responsibility associated with our creations and take time to assess the consequences that arise in connection with them.

These considerations are particularly crucial for someone like Abe. As someone who has come to believe that the philosophical doctrines he once so eagerly embraced no longer work, he’s ripe for something to fill the gaping and vacuous metaphysical void that has opened up inside him. However, while seeking a worthy replacement under such circumstances is arguably a noble pursuit, he must be careful in what he chooses as the basis of his new personal paradigm. In the absence of any prevailing philosophical worldview, crucial elements like those noted above may be missing, too, which could seriously skew the selection process for implementing a new foundational compass.

Given that Abe has found that ideas and intents don’t seem to work for him, he chooses to pursue a radically different alternative – taking action. He believes that the lack of results that comes from merely musing about matters can be effectively overcome by proactively engaging in specific physical acts. He also believes that actions designed to address moral issues and to right wrongs are particularly noteworthy, for they give meaning to their

But do they really? Is such alleged altruism truly enough of a justification for said behavior, especially if it carries moral consequences with it? Abe would seem to think so, because those are the beliefs he now sincerely holds and subsequently uses to create his reality. But are such beliefs the wisest course to follow? While the conscious creation process maintains that all probabilities are fair game for manifestation, does that mean they all should be pursued?

Because Abe has grown disenchanted with the emptiness associated with philosophical rumination, the exhilaration he experiences through the fulfillment of a tangible physical act probably seems quite seductive, especially given the profound dissatisfaction he has endured in his life for so long. Taking action makes him feel alive and vital, a reaction one might even argue results from the inherent density and potency of experiencing existence in physical form.

But has Abe considered the ramifications of those actions? Given how events unfold, it would seem not. This is where the importance of beliefs comes back into play, for even though Abe’s existential actions seem to operate independently of any kind of metaphysical consideration, they still have their origins in the beliefs that gave birth to them, even if unrecognized. If those beliefs are given free rein, without any deliberation of the implications, problems can arise, especially if their embedded consequences end up materializing. And, even if those beliefs are dressed up with moral trimmings, the other elements nevertheless tag along for the ride – and may make their presence felt as full-fledged physical manifestations.

Is this something that Abe (or any of us for that matter) really wants? Only he can answer that for himself. But, if he fails to consider the upshot of his actions (and their underlying beliefs), he seriously runs the risk of practicing un-conscious creation, a pursuit that can carry significant costs. All of which goes to show, as noted at the outset, that beliefs, if left unchecked, can truly be funny things.

The role of consequences in all this is important for another reason: It draws attention to the connectedness of all of the elements that make up existence. No matter how much we might like to compartmentalize the various aspects of our lives and realities, everything is nevertheless linked, and the connections that bind everything to everything else – no matter how seemingly insignificant – are all undeniably present, as Abe comes to discover in the course of his exploits. Even the most ostensibly trivial components and synchronicities of our lives can have surprisingly immense impact. So, because of this, we should carefully assess what arises in our realities lest we suffer the fallout of our inattentiveness.

“Irrational Man” is by no means one of Woody Allen’s best efforts, but neither is it the unmitigated mess that many have made it out to be. In fact, as one of my friends astutely observed, even a bad Woody Allen movie is better than most of the other releases that come out these days. The film admittedly has some pacing issues in the first 30 rather talky, sometimes-repetitive minutes, but it definitely gets better as it goes along. It’s also heartening to see a picture that’s freely unafraid to address the kinds of meaty subjects discussed here. Indeed, how many current films can you name that openly and unabashedly examine philosophical questions? While it’s true there may be some overkill in this regard, I’d rather see a picture that touches on material like this than the mindless pap so many contemporary films do.

Many of the themes present in “Irrational Man” recall those probed in some of the director’s previous works, such as “Crimes and Misdemeanors” (1989), “Manhattan Murder Mystery” (1993) and “Match Point” (2005). The narrative also borrows heavily from the plot of Fyodor Dostoyevsky’s Crime and Punishment. But a number of elements are refreshingly different, too, such as its setting, with its many beautiful location shots, and its lively soundtrack, which prominently features the music of Ramsey Lewis.

Perhaps my biggest issue with this production, however, has nothing to do with the film itself. Once again, as has been the case with an increasing number of pictures in recent years, the movie has been saddled with a misleading trailer. The preview tends to portray the film as a light, bouncy comedy involving the romantic romps of a troubled university professor who inexplicably manages to turn his life around. It gives virtually no indication of its more serious, darker side. In fact, nearly all of the laughs in the entire movie appear in the trailer itself. This is not meant to disparage the picture or the filmmaker by any means. However, it once more raises what is, in my opinion, a growing issue in the movie business that, if left unaddressed, may well come back to haunt the industry at some point.

The next time you get a wild, enticing thought, take some time to take a look at it before acting on it. Delaying the implementation of a rash notion could spare you and yours ample grief and embarrassment. And, if that’s not incentive enough, consider the experience of Abe Lucas. That may be just what it takes to keep you from becoming irrational in your own right.

Salgado, a music critic (Dario Grandinetti, left), and Isabel, a fashion model (María Marull, right), realize they share an unlikely connection in “Pasternak,” one of six vignettes featured in the raucously funny anthology comedy, “Wild Tales.” Photo by Javier Juliá, courtesy of Sony Pictures Classics.

When we’ve been wronged, many of us no doubt want to seek restitution. But how far do we go with this? When do we cross the line between seeking redress and pursuing vengeance at all costs? Those are among the questions addressed in the hilarious Argentine anthology comedy, “Wild Tales.”

“Wild Tales” consists of six vignettes that explore different aspects of revenge and its consequences, five of which are wickedly funny, with a sixth that’s more serious in nature. The stories include the following:

Pasternak tells the story of an airplane full of passengers who all have a common – and unexpected – association with one another. Shortly after takeoff, Salgado (Dario Grandinetti), a music critic who once served as chairman of a panel of thesis judges at a conservatory, strikes up a friendly conversation with one of his fellow passengers, Isabel (María Marull), a fashion model. In the course of their chat, Salgado learns that he and Isabel have an ironic connection: Isabel’s onetime boyfriend, Gabriel Pasternak, a would-be classical musician, was once one of Salgado’s thesis candidates. He laughs and says he’ll never forget Mr. Pasternak because his work was so terrible, an opinion Isabel shares with an acknowledging chuckle. But, if this coincidence weren’t enough, another passenger who overhears their conversation (Mónica Villa) mentions that she was one of Gabriel’s high school teachers, noting that he was a bumbling student. The teacher’s admission subsequently gets the attention of other passengers and crew (Javier Pedersoli, Lucila Mangone, among others), all of whom say they know Gabriel, too, each acknowledging his quirks, faults and reputation. So how is it that all of these seemingly unrelated yet commonly connected people have ended up on the same plane? That’s what viewers will come to find out.

In Las Ratas (The Rats), a stop at a roadside diner serves up more than expected. When Mr. Cuenca (César Bordón), a smart-mouthed malcontent, pops in for a bite to eat, he’s greeted by Moza (Julieta Zylberberg), the restaurant’s sweet young waitress. Cuenca’s insulting sarcasm unnerves Moza, raising suspicions that she’s met him before. It then dawns on her that he’s a loan shark who caused her family to lose their home, prompting her father’s suicide and forcing Moza and her widowed mother to move to a new town. In relating her story to the cook (Rita Cortese), a gruff, snarly ex-con, Moza says she’s going to tell Cuenca off. But the cook says a scolding isn’t nearly enough punishment for what he did. She suggests putting rat poison in his food, but Moza dismisses the suggestion, saying that her idea goes too far. The cook, however, has other plans. And, as serving time approaches, the heat gets turned up on more than just the stove.

In El más fuerte (The Strongest), a pleasant drive in the country takes an unexpected dramatic turn. As well-heeled businessman Diego Iturralde (Leonardo Sbaraglia) embarks on a road trip in his new luxury sedan, he gets stuck behind a slow-moving road hog (Walter Donado) in a dilapidated heap. When Diego attempts to pass, the selfish motorist won’t let him by, either. The incident quickly escalates and turns ugly, and, even though Diego eventually manages to get past, he can’t help but hurl insults and flip the bird as he flies by. Not long thereafter, however, Diego suffers a flat tire, forcing him to stop and make repairs on the roadside. And, in no time, Diego’s nemesis catches up with him to exact revenge. The road rage that prevailed previously pales by comparison to what comes next, with results beyond anything anyone suspects – including the protagonists.

Aggravating the wrong person can carry huge ramifications, as becomes apparent in Bombita (Little Bomb). Simón Fischer (Ricardo Darin), an engineer for a controlled demolition company, becomes irritated when his vehicle is towed while picking up a cake for his daughter’s birthday party. The reason? He contends he wasn’t parked in a no-parking zone. But, when he attempts to claim his vehicle, he’s met with towing fees, a parking fine and an uncaring bureaucracy. Then, when he arrives late for the party, he catches grief from his wife, Victoria (Nancy Dupláa), who says she’s tired of his excuses for putting his family behind everything else. And, if all that weren’t bad enough, things grow even worse thereafter. But everyone who wrongs Simón should remember what he does for a living; after all, he just might draw upon his skills and resources to get even.

Making a deal with the devil is fraught with perils, as is evident in La propuesta (The Proposal). When Santiago (Alan Daicz), the son of a wealthy businessman, strikes a pregnant woman in a hit-and-run accident while driving impaired, he appeals to his father, Mauricio (Oscar Martínez), for help. Realizing that the car is likely to be implicated in the incident (even if the driver isn’t), Mauricio devises a plan to shield his son. He thus offers a proposition to his longtime groundskeeper, Jose (Germán De Silva): take the fall for the accident (an admission for which he’ll likely receive a short, “tolerable” jail sentence) in exchange for a huge payout. But, when Mauricio’s greedy lawyer (Osmar Núñez), a corrupt prosecutor (Diego Velázquez) and the victim’s husband (Ramiro Vayo) become involved, circumstances deteriorate rapidly, leading to an outcome worse than what anyone expected.

It’s been said hell hath no fury like a woman scorned, and that theory gets put to the test in Hasta que la muerte nos separe (Till Death Do Us Part). The wedding of Romina (Érica Rivas) and Ariel (Diego Gentile) should be a happy occasion. But, when the bride learns her new husband has invited a woman with whom he had an affair (Margarita Molfino), she flees in tears. Romina escapes to the rooftop of the hotel hosting the reception, where she runs into a kitchen worker having a smoke (Marcelo Pozzi), who quickly proceeds to “cheer her up.” Moments later, when Ariel arrives, he finds his new bride in a compromised position, but Romina expresses no guilt. In fact, she threatens to take Ariel for everything he has, at which point she returns to what’s left of the reception as a changed woman. That return, however, fuels additional incidents that make what happened previously look like a cakewalk by comparison. Still, they say “love conquers all,” and the potential for that outcome strangely hangs in the balance, despite everything that’s occurred. (What a world.)

Moza (Julieta Zylberberg, right), a waitress wronged by a loan shark, receives some dubious advice about how to exact revenge from a snarly cook (Rita Cortese, left) in “Las Ratas” (“The Rats”), one of six stories of revenge featured in director Damián Szifron’s wickedly funny anthology comedy, “Wild Tales.” Photo courtesy of Sony Pictures Classics.

If it’s not already apparent, the stories in “Wild Tales” are all exercises in “be careful what you wish for,” especially where matters of vengeance are concerned. As conscious creation practitioners know, the process makes it possible to manifest virtually anything our hearts desire through the deployment of our beliefs working in conjunction with the power of our divine collaborator. And, with all options on the table, it’s a scenario that can work wonders – or wreak havoc.

In situations in which we feel we’ve been wronged, it may be natural for many of us to feel as though we want to get even, to exact what we think of as our “rightful” revenge. With sufficient clarity and focus, it may indeed be easy to manifest what we want in this regard, too. However, we must be careful to consider that these actions carry tremendous responsibility, not to mention consequences. This is true for both the perpetrators and victims of these materializations.

It’s easy to see how this principle affects those undertaking such ventures. In El más fuerte, for example, does the road hog really think he’ll be able to get away with his actions without consequences? Most would probably look upon what he does and believe that there surely will be hell to pay. In considering Diego’s response, many might feel that he’s justified in his actions – not realizing that his actions carry consequences, too, no matter how entitled he (and others) might believe he is in carrying them out.

As tempting as it might be to get even, it may not always be the wisest course. This calls upon us to carefully pick and choose our responses. For instance, making one’s feelings known without pursuing an accompanying act of aggression could be the best choice in some circumstances, as Moza’s actions suggest in Las Ratas.

Of course, this is not meant to imply that those who are wronged should just roll over and capitulate, either. As

Simón Fischer (Ricardo Darin), an engineer for a controlled demolition company, becomes irritated when a series of distressing events pushes all his buttons in “Bombita” (“Little Bomb”), one of six hilarious stories of revenge in “Wild Tales.” Photo by Javier Juliá, courtesy of Sony Pictures Classics.

Simón wrestles with the greed of the bureaucracy and its minions in Bombita, he doesn’t hesitate to make his feelings known, even if those similarly affected don’t. He refuses to accept the status quo, lashing out while others just put their heads down and try to make their way through their circumstances as quickly and easily as possible. Their acts of complicity, while understandable, unfortunately serve to perpetuate the unjust creations perpetrated by their transgressors. They thus contribute to the materialization of this mass-created event. In that sense, then, they’re as much a part of the problem as those who concocted it in the first place. Simón, by his acts, seeks to be part of the solution, though, given what he’s up against, it’s unlikely he’ll be able to accomplish his goal all on his own. But his creations still serve a purpose by drawing attention to an issue that, one hopes, others will get behind and support to realize a different outcome moving forward.

Jose (Germán De Silva), a longtime groundskeeper for a wealthy family, considers a dubious proposition that could make him a wealthy man in “La propuesta” (“The Proposal”), the most serious of six tales of revenge in director Damián Szifron’s “Wild Tales.” Photo courtesy of Sony Pictures Classics.

As the film makes clear, those in positions of wealth, control and authority should be especially cognizant of the foregoing principles. In all six stories, those wielding these powers without regard for others fail to consider their need to tread carefully where those affected are concerned. If they don’t, they’re sure to get their comeuppance at some point – and most likely in extremely damaging ways. Those who wronged the unseen central character in Pasternak, for example, may find themselves in for a rather rude awakening. Such is the case also for Mauricio and his cohorts in La propuesta, for Cuenca in Las Ratas and for Ariel in Hasta que la muerte nos separe.

The bottom line in all this is that we must be aware of the beliefs we hold and what we seek to create with them. As any responsible conscious creation practitioner knows, we run the risk of tremendous peril, both for ourselves and others, when we obliviously engage in acts of un-conscious creation, the practice where we either ignore the process and let life unfold “randomly” or where we’re so focused on the outcome that we fail to take into account any of the ramifications that potentially accompany our acts of manifestation. The can of worms that may open as a result of this can be substantial, frequently reminding us that karma can indeed be a bitch.

“Wild Tales” is a raucously funny offering, at least in five of its sequences. The sixth, La propuesta, is considerably more serious than the others and, because of that, doesn’t quite mesh with the rest in terms of tone (even if it is thematically linked). The writing and acting are spot-on throughout, leaving viewers with no doubt about what the characters are experiencing, especially in Pasternak, El más fuerte and Bombita. Credit writer-director Damián Szifron for a job well done.

With all that said, however, a strong word of caution is in order: This film is definitely NOT for the squeamish or those who are easily offended. Some viewers might also find themselves feeling guilty or embarrassed for laughing at things that they ordinarily wouldn’t find funny. The picture’s uncompromising nature, though never gratuitous or grotesque, makes its points abundantly clear, presenting its material in a style akin to a tempered version of a Quentin Tarantino film. If you believe this is something more than you can handle, then stay away from this movie. But, if you’re someone who can laugh at our own folly without regret, then check this one out – you’re not likely to be disappointed.

“Wild Tales” has received a number of significant accolades for its efforts. The picture earned Critics Choice and

Romina (Érica Rivas), a newlywed who finds out at her wedding that her new husband may have been cheating on her, seeks to exact her revenge in “Hasta que la muerte nos separe” (“Till Death Do Us Part”), one of six raucously funny vignettes in the anthology comedy, “Wild Tales.” Photo by Javier Juliá, courtesy of Sony Pictures Classics.

Academy Award nods for best foreign language film, as well as a Palme d’Or nomination at the Cannes Film Festival, the event’s highest honor. The film is primarily showing at theaters specializing in independent and foreign cinema, and some of its online marketing materials may be found under the alternate title “Savage Tales.”

When others have transgressed against us, we might find it difficult to hold our tongues (and, from a conscious creation standpoint, even more difficult to “hold our beliefs”). As satisfying as exacting revenge may seem in the short run, there could be long-term consequences that might be far worse than anything perpetrated against us. So, when faced with such circumstances, we need to assess our options and consider a measured response, one that makes it point without ricocheting back on us. To do otherwise runs the risk of having even more heaped upon us than what we initially suffered, leaving us to sort out far more than what we ever bargained for.

Facing the autumn of one’s life can be challenging in many ways. Coming to terms with the realities of having fewer, rather than more, years ahead, as well as the increasingly debilitating effects of age, are daunting enough. But what if the means to live out those remaining days in comfort are in peril, too? This combination of elements might seem deflating or overwhelming to some, but, with one’s independence, dignity and survival at stake, the more adventurous and innovative among us may elect to take some extraordinary, uncharacteristic or even drastic measures to make the most of those circumstances, as seen in the delightful new comedy, “The Best Exotic Marigold Hotel.”

With retirement looming, seven British seniors weigh their options for what lies ahead:

* For Evelyn Greenslade (Judi Dench), the golden years look a lot bleaker than she had once anticipated. The lifelong, recently widowed housewife is forced into selling her residence to pay a backlog of debts left by her deceased husband, saddling her with a very uncertain future.

* Retired housekeeper Muriel Donnelly (Maggie Smith) needs hip replacement surgery but faces a six-month wait unless she’s willing to try something a little more radical – not an easy decision for someone very set in her ways and her outlooks.

* Bored with his career and his life, Judge Graham Dashwood (Tom Wilkinson) can no longer continue with an existence that leaves him unsatisfied and longing for something more fulfilling. His search for genuine happiness clearly requires more than what his current routine can provide.

* Career civil servants Jean and Douglas Ainslie (Penelope Wilton, Bill Nighy) approach retirement community living with mixed feelings. Jean believes she deserves something better than what’s on offer and doesn’t hesitate to make her dissatisfaction known. Douglas, meanwhile, tries to assuage her, agreeing to pursue other options if doing so will help keep the peace in their increasingly precarious relationship.

* Spunky skirt-chaser Norman Cousins (Ronald Pickup) feels like a spry 40-something, even if his chronological odometer indicates otherwise. Nevertheless, how he feels, and how others react to his advances, such as the actual 40-somethings he tries to court, are two entirely different matters. Maybe it’s time for Norman to turn his attention elsewhere.

* Madge Hardcastle (Celia Imrie) loves her family, but she tires of the demands they regularly place on her time, such as frequent requests for babysitting her young grandchildren. As someone who wants to enjoy life more in her remaining years, she yearns to take off and be a free spirit while she can – something she just might do.

Given their prevailing circumstances, the retirees each decide they need to pursue alternate paths. In doing so, they all stumble upon advertising for what seems to be the perfect solution to their respective situations – the Best Exotic Marigold Hotel for the Elderly and Beautiful. The ads for this affordable but luxurious facility promise its guests grand accommodations in a classic setting in the lively, colorful Indian city of Jaipur. Everyone jumps at the opportunity, making reservations to move into this elegant pleasure palace. But there’s just one catch: the hotel is nothing like what’s in its promotional materials. In fact, the decrepit structure is not far from collapsing, its walls propped up by assorted forms of jerry-rigging and the infectious, if sometimes-unrealistic enthusiasm of hotelier Sonny Kapoor (Dev Patel).

Sonny struggles incessantly to keep his faltering business afloat. He does all he can to appease his disgruntled guests, many of whom are ready to turn back upon arrival, and his overbearing mother (Lillette Dubey), who constantly criticizes Sonny, forever flaunting his brothers’ success in his face. He also strives to please his girlfriend, Sunaina (Tena Desae), an educated, upwardly mobile young woman whom he worries will leave him for someone more financially stable. It’s quite a full plate for the wily young entrepreneur.

But, thanks to a hefty dose of Sonny’s charm and the newfound friendships that spring up among the recent arrivals, the guests decide to stay. They thus embark on new journeys of personal discovery, some on their own and some by way of interactions with the hotel staff, the locals or each other. Their individual odysseys end up offering them possibilities for fresh starts unlike anything they could have possibly imagined before they left England.

At some point in our lives, fresh starts are welcome developments in the wake of unrelenting sameness, though, admittedly, embracing such changes can become more difficult for many of us as we age. As we allow the beliefs that shape our realities through the conscious creation process to settle in and become comfortable, we’re more likely to look askance at possible upheavals in our routines, summarily rejecting them even before examining what they have to offer. We might even try justifying our resistance with arguments like “we’re too old for this sort of thing.” But are fresh starts only meant to be the provenance of the young?

The very emergence of such manifestations indicates that there’s some part of us deep down inside that wants to usher change into our lives, no matter how old or young we are, but the more we resist those impulses, the more imposing, even threatening, they’re likely to appear in subsequent iterations. They may ultimately give rise to circumstances that appear as if change is being foisted upon us, with unwanted consequences and overwrought drama coming along for the ride.

Go-getter hotelier Sonny Kapoor (Dev Patel) welcomes his recently arrived English guests to their new Indian home in "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

Is this really how we want change to take hold in our lives? Must we become so dissatisfied with our situations that we allow ourselves to become ill, jaded or burned out before we’ll even consider making alterations to our existence? Do we truly want change crammed down our throats?

In many ways, this is where the guests of the Marigold Hotel find themselves at the film’s outset. They’re at the point where they’ve put off making change for so long that they now find themselves, metaphorically speaking, with their backs up against the proverbial wall. Their inner selves are telling them that change is imperative and that the only real decision they need to make is to choose how to react to the impending circumstances.

Many of us have come to fear change, that the disappearance of the familiar will leave us sad, disoriented or less well off than we’ve grown accustomed to being. But it need not be that way at all. Change just means doing something differently, and it doesn’t automatically equate to things being worse than they have been; it could indeed be the start of something far better than we could have possibly imagined but that we have not previously permitted to materialize. Allowing change of an especially positive nature can be truly life affirming, especially for those nearing the ends of their corporeal journeys. After all, as many of us have no doubt experienced, basking in the illuminated brilliance of sunny autumn days can be some of the most rewarding times of the year. The residents of the Marigold Hotel come to see this for themselves, once they’re willing to allow it to happen.

Conscious creation theorists like author Jane Roberts, speaking through her noncorporeal channeled entity, Seth, maintain that our lives are all about being in “a constant state of becoming.” Our lives, like those of the Marigold Hotel guests, truly are journeys, explorations of discovery and becoming who we were genuinely meant to be. To make the most of that experience, we would be wise to leave ourselves open to maximize the scope of our personal adventures, especially in the waning days of those expeditions. Let us hope that we all have the wisdom to make that possible for ourselves, to discover the joy that Evelyn, Muriel, Graham, Douglas, Jean, Norman and Madge find for themselves in their own respective adventures.

“The Best Exotic Marigold Hotel” is a charming release, full of life, vibrancy and gentle humor. Its exquisite cinematography and mesmerizing soundtrack combine to paint a lush portrait of an exotic land in all its beauty and all its challenges. The excellent ensemble cast blends well together, though the writing sometimes fails them when it comes to the degree of interaction the principal characters have with one another (even though they’re each following their own paths, it would have been nice to see those paths cross one another a little more than they do). The script also falls prey to a certain degree of predictability, but then that’s compensated for by an equal measure of surprise, offsetting that minor shortcoming.

The picture is already getting some Oscar buzz, though, realistically, I think it’s being released far too early in the year to be remembered by Academy voters later on. Nevertheless, if 2012 proves to be another weak year for movies, it could be a contender in some of the technical categories, as well as for some of the performances, particularly those turned in by Wilkinson, Nighy and, of course, Dench.

This picture serves as a valuable reminder that time passes in this life far faster than most of us often realize and that, because of that, we’d better make the most of it while we can, especially when the hourglass is running out. In life as in the movies, I’ve found that some of the most rewarding moments come toward the end of the picture. And to get the most out of them, it’s up to us to savor those times before the credits roll.

Retired housekeeper Muriel Donnelly (Maggie Smith) attempts to adjust to her new surroundings while recovering from hip replacement surgery in the delightful new comedy, "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

READ: Fresh starts showcased in the film ‘Marigold Hotel’ was last modified: May 11th, 2012 by Brent Marchant

One of the hallmark principles of contemporary metaphysical thought is that we each create our own reality (and in a highly personal way, I might add) through our beliefs and intents. But, as widely as this notion has been embraced, rarely has it been portrayed cinematically as eloquently as it is in the new biographical character study, “The Iron Lady.”

Meryl Streep gives a riveting performance as former British Prime Minister Margaret Thatcher in the new biographical character study, "The Iron Lady." Photo by Alex Bailey, courtesy of Pathe Productions Ltd/The Weinstein Company.

The film examines the life of former British Prime Minister Margaret Thatcher (1979-1990) (Meryl Streep) from the protagonist’s personal perspective. As the picture opens, we see the “Iron Lady” (a nickname the P.M. earned for her rigidly conservative political views, particularly regarding Communism) as an elderly recluse, her mental and physical health failing after a series of small strokes. She’s prone to engaging in lengthy conversations with her husband, Denis (Jim Broadbent), who died many years before but somehow manages to “appear” on cue. She seems adrift in delusion, detached from most everyone, including those attempting to care for her, such as her daughter Carol (Olivia Colman) and an assortment of domestic, personal and medical handlers.

After years of floating about in this psychological fog, however, Margaret quietly starts taking steps to get her life back. She embarks on this process by deciding—finally—to sort through and dispense with the personal effects of her late husband, possessions that she’s been holding onto for years. But, by doing this, she opens a Pandora’s Box of memories of her personal and political life. Recollections of her past relentlessly come flooding back to her (an experience not unlike the so-called “life review” that many contend we go through after we pass on). This deluge of memories forces Margaret to come to grips with what she’s done, for better or worse, as well as the rewards she received and the prices she paid for her successes and failures, both personally and politically.

Through flashbacks, we see Margaret’s younger self (Alexandra Roach) as a clerk in the family grocery during World War II, as an outspoken aspiring politician in post-war England and as the love interest of the successful young businessman who would become her eventual husband (Harry Lloyd). From there we witness her rise through the ranks of British government, first as a member of Parliament, then as Secretary of State for Education and Science, then as leader of the Conservative Party, and eventually as England’s longest-serving Prime Minister of the Twentieth Century (and the first woman ever to hold that office).

Once in power, we witness the challenges Margaret faced in dealing with such issues as Britain’s labor unions, the sagging English economy, the Falklands War with Argentina, the terrorist attacks of the Irish Republican Army (which took the life of her trusted advisor, Airey Neave (Nicholas Farrell), and nearly cost Margaret her own life through an unsuccessful assassination attempt), and heady international affairs involving the European Union and the end of the Cold War. And, through it all, we see the depth of her famous (or infamous) steely resolve to see her plans through.

On her climb up the ladder of success, Margaret triumphantly overcomes the many roadblocks thrown up by the privileged Parliamentary old boys’ club, obstacles intentionally designed to thwart the upward mobility of women and those of middle class background. But, in spite of her successes, Margaret also paid some high prices for her accomplishments. While she had her allies, she also made her share of enemies in government, the international arena and the public at large. Her family life frequently took a back seat to her public calling, straining relationships with her children and even her beloved Denis. And eventually she paid a tremendous price politically, when her inflexibility cost her the support of longstanding ally Geoffrey Howe (Anthony Head), her control of the Conservative Party and, in the end, the leadership of her country. It’s these costs that the elder Margaret must come to terms with as she struggles to take back her life.

At its metaphysical core, “The Iron Lady” showcases one individual’s efforts at practicing conscious creation, the philosophy that maintains we each create our own reality. This theme is perhaps best summed up by a quote from the protagonist: “Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny! What we think, we become.” In saying this, Margaret embodies many of this discipline’s principles, particularly those outlined in author Jane Roberts’s book The Nature of Personal Reality, one of the cornerstone works on this philosophy and how it operates.

Of course, we would be wise to monitor the elements that go into what we ultimately create, with a particular eye on being prepared for everything that comes with this process. To do otherwise is to practice what I have termed “creation by default” or “un-conscious creation,” whereby we put out our intents and inattentively let the chips fall where they may. Acts of creation always come with consequences, some of which we may dislike (a painful lesson that Margaret wrestles with in the course of her personal reflections). This is particularly true when we allow ambition to become a significant part of the mix, for its forcefulness can amplify the impact of the outcomes; the more we “push the Universe,” our divine collaborator in this process, the more exacerbated the results will be. Margaret learns this the hard way, too, especially when she’s challenged by her peers for the leadership of her party; her unwavering views, coupled with a penchant for “lecturing” her colleagues, play a huge role in bringing about her eventual political downfall.

Many have been highly critical of this film for allegedly playing fast and loose with “the facts,” even going so far as to say that it gives viewers a sanitized revisionist history of Thatcher’s life and career. But it’s on that point that I believe many of the picture’s detractors have missed the movie’s intent. “The Iron Lady,” in essence, is a character study, not a historical chronicle of the protagonist’s life, examining her outlooks and motivations from her own personal viewpoint (not unlike what the excellent made-for-cable production “The Life and Death of Peter Sellers” did for the legendary British actor). It’s meant to provide a look at what she was thinking and feeling about the historical events portrayed in the film, not what an outside, “objective” historian might have to say about her life and career. In that sense, then, the picture is more about the life of a person who just happened to be a British Prime Minister than about the life of a British Prime Minister who just happened to be a person.

Some have also been critical of the film’s portrayal of Thatcher as a dementia patient lost in a sea of delusion, suggesting that someone of her stature and character would never engage in acts as seemingly outlandish as protracted, hallucinatory conversations with her dead husband. Such speculation, they assert, is not only disrespectful but also patently unrealistic. But how do we know with certainty that this isn’t happening with her? Are we inside Margaret’s consciousness to verify such activities? If, indeed, we each create our own reality, then who’s to say that such an existence couldn’t be created with the thoughts of one’s mind, even for a respectable public figure like Margaret Thatcher. Besides, even if this portrayal is nothing more than a piece of fiction, that doesn’t automatically invalidate the narrative’s premise or format; fictional works based on the life events and personal ruminations of historical figures, including everyone from Mark Twain to LBJ, have been staples of Broadway and public television for years, so why not in the movies, too?

Lastly, many have been critical of the movie’s depiction of Thatcher’s politics. However, given the very personal nature of the story, I’d like to hope that audiences can see past the politics and look instead to the picture’s sublime metaphysical content. Again, the film is a fine portrayal of the conscious creation process in action as seen through the eyes of someone who just happens to be a prominent public figure, not a history lesson re-created through a conventional docudrama format.

Many aspects of “The Iron Lady,” such as Streep’s positively phenomenal performance, come as no surprise (she handily does for Margaret Thatcher what she did for Julia Child in “Julie and Julia”). But other elements of the picture are indeed revelatory, such as the skillful direction of filmmaker Phyllida Lloyd, who has stepped up her game remarkably from her last outing in the truly abysmal “Mama Mia!” High marks also go to Broadbent for an excellent (and thus far largely overlooked) performance and to the film’s makeup department for coming up with aging prosthetics that actually look realistic for once.

Streep’s portrayal, however, is, by far, the film’s greatest asset, having earned her a Golden Globe Award for best actress in a drama. She also received nominations for this performance in the upcoming Screen Actors Guild Awards competition and in the recent Critics Choice Awards program, which also gave the picture a nod for its outstanding makeup work. It’s virtually assured that Streep will also pick up an Academy Award nomination for this role when the Oscar nominees are announced next week.

Many moviegoers have characterized “The Iron Lady” as a fine performance wrapped up in a mediocre film, though I believe that assessment really sells the picture short. It’s a captivating metaphysical exploration of how we create our own reality—and how we should exercise care in doing so, because, as the protagonist so articulately and accurately observes, “what we think, we become.”

So often in life we wonder why things turn out as they do. We ponder the outcomes we experience, especially when they have a significant personal impact on us. But, if we’re truly honest with ourselves, we invariably find that those results are generally driven by our beliefs and expectations, a theme explored in depth in the absorbing drama, “A Better Life,” now available on DVD.

Like many who make their way to the U.S., Carlos Galindo (Demián Bichir) desires a brighter future for himself and his teenage son, Luis (José Julián). He spends his days tending the gardens of wealthy homeowners in and around Los Angeles with his boss, Blasco (Joaquín Cosio). He works hard, but, as an illegal Mexican immigrant, he also keeps a low profile, ever aware that even the slightest infraction could get him deported in a heartbeat. He also keeps a watchful eye on Luis; as a single father, he’s concerned that his son might fall prey to the gangs that heavily recruit neighborhood youths.

Carlos’s hopes for a better life get an unexpected boost one day when Blasco announces plans to sell his truck, the primary asset of his landscaping business. Having achieved his business goals, Blasco plans to move on, but, before departing, he gives Carlos first crack at buying the vehicle and taking on his client list. Carlos is hesitant initially, but he realizes that, if he doesn’t make the purchase, he’ll probably be out of a job, since there’s no guarantee that a different owner would hire him.

Carlos decides to take a chance and become his own boss; he borrows money from his sister Anita (Dolores Heredia) to buy the truck and set himself up in business. It’s a big step, one with the potential to deliver great rewards, but one that also carries more risk now that he must assume a higher profile. And it’s not long before he discovers just how big a risk that can be; when he hires an assistant (Carlos Linares) to help him, Carlos quickly has his world turned upside down, threatening everything he’s worked so hard to achieve.

“A Better Life” provides an excellent illustration of the power of expectation in governing the outcomes we experience. As conscious creation practitioners well know, expectations are based on our beliefs, the driving force in what materializes in the reality surrounding us, and that concept is clearly on display here. The picture is particularly effective at demonstrating what happens when conflicting beliefs come into play. For example, Carlos genuinely believes that a better life is possible in the U.S., yet this aspiration is constantly burdened by the conflicting influence of fear that he’ll be exposed as an illegal alien, an element that not only sabotages his hopeful intentions but that also threatens to make his worst nightmares become self-fulfilling prophecies.

On the other hand, the film also shows the malleability of beliefs, that they’re always capable of being changed or rewritten and that even second chances are possible, provided we choose carefully. This is especially apparent in the relationship between Carlos and Luis. As Carlos spends more and more of his time working and Luis spends more of his time with questionable peers (Bobby Soto, Chelsea Rendon, Richard Cabral), we see a father growing progressively worried about an impressionable son, fearing not only for his child’s future but also concerned about the deterioration of their bond with one another. Since Luis is obviously the most important aspect of Carlos’s life, he creates circumstances that draw the two of them back closer together, though it’s a choice that carries potentially high-cost consequences and that may well involve subsequent belief rewrites – changes that, in themselves, may prompt the rise of additional new opportunities for second chances as well.

Hiring an assistant (Carlos Linares, left) proves a bigger challenge than new business owner Carlos Galindo (Demián Bichir, right) bargains for in the immigrant drama, "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

Given the subject matter of this picture, it might be easy to let political views color one’s opinion of it, regardless of which side of the fence one’s views fall on. However, I’d like to hope that audiences could find it in themselves to look past such superficial considerations and assess the movie on a deeper level, giving its profound metaphysical themes a critical examination. To be frank, doing less than that, in my opinion, constitutes “lazy viewing” on the audience’s part. Perhaps this is a pet peeve of mine, but I was sorely disappointed when many viewers did just that with the release of “Crash” in 2005, unfairly saddling the picture with a stigma based on oversimplified interpretations that it has carried around with it ever since, despite its critical acclaim and numerous accolades, including the Academy Award for best picture. I would hate to see “A Better Life” befall a similar fate.

With that said, however, I must hasten to add that “A Better Life” is no “Crash,” either. It’s an engaging drama that tells its story well, despite some rather improbable plot line elements, and its narrative is heartfelt and moving, particularly where the father-son relationship is concerned. It’s well acted across the board, and it provides a probing look at a world that most us probably never see.

Impressionable teen Luis Galindo (José Julián, center) becomes a concern to his father when he begins spending more time with questionable peers like Facundo (Bobby Soto, left) and Ruthie (Chelsea Rendon, right) in "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

If you haven’t heard of this film, you’re not alone; it had a verybrief theatrical run at independent movie houses last summer, though, if you blinked, you probably missed it. However, the picture’s visibility has risen of late with its DVD release and with two well-deserved best actor nominations for Bichir in the Screen Actors Guild and Independent Spirit Awards competitions (there’s even talk of an outside shot at an Oscar nod, too). It’s certainly heartening to see a small film like this receive some noteworthy recognition, considering how easily its voice might have been overpowered by the noise associated with other larger, better-financed productions.

It’s been said that we should be careful what we wish for, because we just might get it. And therein lies the power of expectations in manifesting the results we experience, especially when powerful elements like fear and conflicting beliefs get wrapped up in the mix. “A Better Life” reinforces that notion, showing us that we’d be wise to choose those beliefs carefully in the first place – and maybe to even think twice before doing so.

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However sometime's growth involves digging up the dirt and planting anew...
And after over 20 years of marketing, promoting and producing others Shayne Traviss decided to open a new chapter in his life.
If you long to go higher, live a life 'all in' join him as he dives in deep sharing his life experiences, travels and inspirations for living a VividLife.